Later, I clipped the image below from a daily newspaper. You can see that it's the same image, with less cropping, and yet has not only a different color palette, but a subtler rendering to it. Examples of how the same basic artwork can be used to different effect.
My FLINTSTONES sketch cards (based on the designs by Ed Benedict and Craig Kellman). Each card measures 2.5" x 3.5" (size of a baseball card)...markers, brush & ink on textured 80 lb. card stock. E-mail me at powsley@flash.net. 
Early FLINTSTONES publicity art. From the looks of FRED and BARNEY's hair, this was probably done for the second season.
But not such fantasy, as those are Vivian's pet rabbits. Dulac sketched the rabbits from life in a series of spontaneous brush and ink drawings, some shown below.
This is the original art for one of the illustrations from Kenneth Grahame's 'The Golden Age', an 1899 book. The art is black and gray wash, with white gouache touches, over graphite on beige wove paper. The inscription, by the artist, says:
This is Elder's funny rendering of 12 year old Pocahontas putting herself in harm's way to save John Smith. I'm not even sure whether the entire drawing is Elder's, or maybe he doctored an old print. Either way I think it's an anomaly for Elder. But still, take a close look at some of those Papé drawings—the funny little details, the animated gestures . . . I dunno, I bet Elder could've seen that stuff and eaten it up . . .
To me, Frank Pape's work is a joy to behold, yet it's interesting how his style runs a spectrum even within one book. His illustrations for a 1926 edition of Thaïs by Anatole France — as seen here — are dramatic, decorative, sensual AND humorous. His work is somewhat comparable to Willy Pogany.
